POSSIBILITIES  FOR  THE  DEVELOPMENT  OF  CHAMBER  MUSIC 

IN  THE  UNITED  STATES 


BY 


IRA  A.  McKinney 


THESIS 


FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 


IN 


MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1922 


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UNIVERSITY  OF  ILLINOIS 


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THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 

lj_a__Aj_JiQ.Klnney 

ENTITLED____P_OSSIBILIT-IES-ZOP-TEEL-DEV^:LaPLIENII^-OE-CEAiiBER 

jnisic_j:N--TFJL-mir]:En-STATER 

IS  APPROVED  BY  ME  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF EACKELOE-OF-MUaiC-IIi-ilURia 


Digitized  by  the  Internet  Archive 

in  2016 


https://archive.org/details/possibilitiesforOOmcki 


POSSIBILITIES  FOR  THE  DEVELOPMENT  OF  CHAMBER  MUSIC 

IN  THE  UNITED  STATES 


BY 


IRA  A.  McKinney 


THESIS 

FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 


IN 

MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1922 


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Possibilities  for  the  Development  of  Chairiber  Music 

in  the 

United  States 


Music  has  been  one  of  the  cultural  subjects  in  education, 
from  time  immemorial,  to  the  present  day.  It  has  existed  in 
ensemble  and  in  solo  work.  Both  instrumental  and  vocal  efforts 
have  helped  to  pave  the  way  to  a perfected  appreciation  of  the 
highest  and  noblest  expression  of  the  universal  language, 
music.  The  most  intimate,  the  most  beautiful  and  the  most 
profound  of  all  forms  of  music  is  that  which  goes  by  the  name 
of  Chamber  Music, 

Chamber  Music  includes  compositions  which  are  written 
for  limited  groups  of  instruments,  suitable  to  be  performed 
in  small  rooms.  It  includes  both  vocal  and  instrumental. 
Karrov/ed  in  its  application,  it  means  only  a few  performers  in 
instrumental  ensemble.  By  the  word  'few’  is  meant  any  number 
fromi  two  to  ten.  The  character  of  the  music  must  be  of  a 
serious  type.  Throughout  this  discussion  the  term  Chamber 
Music  will  be  used  in  the  narrow  sense. 

By  understanding  the  beginnings  and  the  developments  of 
Chamber  Music  in  other  countries,  we  can  better  appreciate  the 
developments  of  it  in  our  own  country. 

N.  Kilburn  has  written  a very  interesting  book  entitled 
•’The  Story  of  Chamber  of  Music."  He  tells  us  that  in  the  time 
of  the  Frankish  kings,  the  word  chamber  was  applied  to  the 
room  in  the  royal  palace  in  which  the  monarch's  private 
property  was  kept  and  in  which  he  looked  after  his  private 
affairs.  When  royalty  took  up  the  cultivation  of  music,  it 
was  as  a private,  not  a court  function.  The  concerts  given 
for  the  entertainment  of  the  royal  family  took  place  in  the 


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king's  chamber  or  private  room. 

He  also  tells  us  that  near  the  end  of  the  fifteenth 
century  it  became  customary  to  introduce  instrumental  music  at 
the  banquets  of  the  wealthier  classes,  and  what  may  be 
regarded  as  Chamber  music  was  used  as  a stimulus  and  a cover 
for  conversation.  From  these  sources,  it  seems  likely  that 
this  form  of  music  made  a beginning.  | 

I 

We  have  many  composers  of  Chamber  Music  in  the  seventeenth  | 
century.  Re  ink  in  (1623-1722)  a pupil  of  the  celebrated 
Amsterdam  composer,  Sweenlinck,  wrote  a Quartet  or  Suite  for 
two  violins,  a viola,  and  bass,  which  he  named  ’’Kortus 
Musicus.”  Henry  Purcell  (1628-16S3)  an  English  composer, 
wrote  a fine  set  for  stringed  instruments  known  as  the  Golden 
Sonata.  Correlli  (1653-1713)  published  in  1685,  twelve 
chamber  sonatas  for  two  violins,  cello  and  harpsichord.  John 
Sebastian  Bach  (1685-1750)  wrote  compositions  for  clavier, 
strings  and  flute.  Those  which  belong  particularly  to  chamber 
music  are,  the  Sonata  in  C major  for  two  violins  and  clavier, 
another  in  G major  for  flute,  violin  and  clavier,  and  also  one 
in  C minor  written  for  the  same  instruments. 

Other  composers  who  wrote  Chamber  Music  about  the  time 
of  Bach  were  Tart  ini,  Geminiani,  Gardini,  Pugnani,  Dittersdorf, 
Boccherini,  Haydn,  and  Philipp  Emanuel  Bach,  a son  of  John 
Sebastian.  Haydn  published  his  first  string  quart ett  in  1755. 
Some  of  the  great  violin  makers  such  as  Amati,  Guarneri  and 
v-vujShadivur i contributed  much  to  Chamber  Music.  They  not  only 
made  violins,  through  a conrimercial  point  of  view,  but  they  were 


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interested  in  good  music  in  that  they  furnished  the  performers 
with  the  highest  tone  possible. 

The  old  composers  set  the  pattern.  Under  the  title  of 
the  ’’Musical  Union”  were  commenced  a series  of  Chamber  Music 
concerts  in  London  in  1845  by  John  Ella,  a violinist, 

"Musical  Winter  Evenings"  was  the  title  of  another  series  of 
concerts,  at  which  the  best  ensemble  music  was  performed  by 
the  leading  artists  of  England  and  foreign  countries. 

Outside  of  Germany  England  took  the  lead  in  Chamber 
Music  and  was  not  slow  in  being  followed  by  other  countries, 
Cambridge  University  Musical  Society,  Cambridge  University 
Musical  Club,  Oxford  University  Musical  Union  and  the  People's 
Concert  Society,  were  institutions  which  advanced  Chamber  Music 
in  England  from  1643  to  1884. 

In  the  Outlook  of  May  3,  1915,  under  the  title  of 
"Domesticating  Music"  occurs  this  article:  "The  real  fruit  of 
the  Chamber  Music  Club  is  in  the  audience  of  appreciative 
listeners,  who  have  learned  to  want  such  music  and  to  support 
it.  It  is  this  group  of  creative  listeners  that  gives  ground 
for  hoping  that  good  music  may  some  day  be  domesticated  in 
America."  We  might  add  that  when  it  is  domesticated  in  the 
school,  it  will  soon  find  its  way  elsewhere. 

The  American  Encyclopedia  of  Music  Theory  says  the 
following:  "Chamber  Music  was  not  known  to  assume  a definite 
form  until  the  violin  was  made  so  prominent  in  all  instrumental 
compositions.  It  was  in  Germany  that  these  smaller  instrumental 
forms  developed.  Chamber  Music  began  with  Haydn’s  first  quartet. 


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written  about  the  middle  of  the  eighteenth  century,  when  the 
sonata  form  had  assumed  definite  shape.  Composers  have  found 
by  experiment  that  the  string  quartet  offers  every  opportunity 
of  instrumental  music  both  as  to  expression  and  technical 
construct  ion. " 

The  string  quartet  plays  only  a higher  type  of  music, 
which  soloists  and  orchestras  oftentimes  do  not  do.  It 
develops  confidence,  co-operation,  and  enthusiasm.  Three 
prominent  quartettes  are:  "The  Flonzaley  String  Quartette," 
"The  Zoellner  Quartette,"  and  "The  Olive  Mead  Quartette."  The 
last  is  the  leading  woman  string  quartette  in  the  world. 

Kneisel  says,  "On  account  of  the  flexibility  of  the 
instruments  of  a string  quartette  and  the  capability  of 
expression  of  the  strings.  Chamber  Music  can  be  carried  to  a 
nicer,  finer  finish  than  almost  any  other  instrumental 
performance.  It  does  not  depend  upon  startling  effects,  like 
those  produced  by  the  orchestra,  by  a volume  of  sound,  but  by 
inate  beauty,  purity  and  appeals  through  the  intellectual 
faculties  to  the  higher  emotions," 

Chamber  Music  has  had  a great  effect  upon  the  musical 
life  of  America.  It  is  becoming  every  day  more  widely  known 
and  better  liked.  In  volume  106  of  the  Outlook  we  find  that 
there  is  no  greater  music  than  that  which  can  be  produced  by 
six  or  eight  performers  or  less,  in  a small  hall  or  a room  of 
moderate  size.  It  further  says  that  the  intruder  into  sacred 
Tioet  of  music  is  Arnold  Schoenberg.  He  has  created  a 
sensation  with  a string  quartet.  He  has  written  a quartet 
that  lasts  fifty-two  minutes  without  interruption.  And  during 


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-5- 


those  fifty-two  minutes  scarcely  once  will  the  ordinary  hearer 
recognize  what  seems  even  an  approach  to  any  familiar  chord. 
Volume  105  Outlook  says  that  there  is  no  way  by  which  the 
greatest  number  of  people  can  learn  to  know  the  greatest  works 
of  music  than  by  means  of  Chamber  Music  concerts. 

The  literature  of  Chamber  Music  comprises  works  that 
are  unsurpassed  in  all  music.  Beethoven's  quartets  are  as 
great  as  his  symphonies.  Haydn,  Mozart,  Schubert,  Schimann, 
Brahms,  would  remain  immortal  if  all  their  compositions  with 
the  exception  of  their  Chamber  Music  were  lost  to  the  world. 

In  the  American  History  and  Encyclopedia  of  Music, 
Liebling  gives  the  following  list  of  Chamber  Music  compositions 
in  which  the  piano  is  used:  Piano  and  Violin — Sonatas  by 

Bach,  Beethoven,  Brahms,  Franck,  Cade.  Goldmark,  Suite  (Opus 
11);  Sonatas  by  Grieg  (Opus  8,  13,  and  45);  Handel,  Haydn, 
Mozart;  Five  Sonatas  by  Raff;  Sonatas  by  Reger;  Suites  by 
Ries ; Rubinstein,  Sonatas,  (Opus  13  and  18);  Xavier  Scharwenka, 
Sonata  (Opus  46);  Schubert,  Rondo  in  B minor;  Schuett,  Suite 
(Opus  44);  Schumann,  Two  Sonatas;  Sinding,  Suite  (Opus  10); 
Sonatas  (Opus  27  and  70);  Sitt,  Three  Sonatanas  (Opus  62); 
Sjogren,  Sonata  (Opus  18). 

Piano,  Violin  and  Cello — Trios  by  Arensky,  Bargiel, 
Beethoven,  Bernard,  Chopin  (Opus  8);  Dvorak,  Gade,  Godard, 
Haydn,  Lalo,  Mendelssohn  (Opus  49  and  66);  Mozart,  Reger, 
Rubinstein  (Opus  52);  Scharwenka  (Opus  1);  Schubert  (Opus  99 
and  100);  Schuett,  Walzermaerchen ; Schumann  (Opus  63,  80  and 
110);  Sinding,  (Opus  64  and  87);  Tschaikowsky , Volkmann. 


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-6- 


Piano,  Violin,  Viola,  and  Cello — Quartets  by  Brahms, 
Beethoven,  Rheinberger,  Schumann. 

Quintets  for  Piano  and  Strings — by  Brahms,  Dvorak, 

Mozart,  Reinecke  in  A major  (Opus  83);  Rubinstein  (Opus  89); 
Schubert  (Opus  114);  and  Schumann  (Opus  44). 

Piano  Septets — by  Hummel  and  Saint-Saens, 

Piano  and  Cello — Sonatas  by  Bach  and  Beethoven;  Chopin, 
Introduction  and  Polonaise  (Opus  3);  and  Sonata  (Opus  65); 
Sonatas  by  Godard,  Grieg  (Opus  36);  Mendelssohn  (Opus  45  a,nd 
58);  Reger  (Opus  28  and  78);  Rubinstein  (Opus  18);  Suite  by 
Saint-Saens;  Strauss,  Sonata  (Opus  6). 

Piano  and  Viola — Rubinstein,  Sonata  (Opus  49). 

Piano  and  Flute — Sonatas  by  Bach,  Meyer,  Olbersleben 
and  Reinecke,  Undine  (Opus  167). 

Piano  and  Clarinet — Weber,  Grand  Duo  Concertante  (Opus 

48) . 

Dunhill  in  his  ”A  Treatise  for  Students”  gives  a very 
complete  list  of  Chamoer  Music  compositions  and  their  composers, 
from  which  the  following  which  I deemed  the  most  important 
were  taken: 

Beethoven 

String  Quartet  in  F 
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String  Quartet  in  E minor 
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String  Quartet  in  E flat 


Opus  18 
Opus  18 
Opus  59 
Opus  59 
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String  Quartet  in  F minor 

Opus 

95 

String  Quartet  in  C sharp 

minor  Opus 

131 

String  Quartet  in  A minor 

Opus 

132 

String  Quartet  in  F 

Opus 

135 

String  Trio 

in  D 

Opus 

9 

Number  2 

String  Trio 

in  G 

Opus 

9 

Number  1 

String  Trio 

in  C 

Opus 

Q 

Number  3 

Sonata,  piano 

and  violin 

in  A 

Opus 

12 

Number 

2 

Sonata,  piano 

and  violin 

in  A 

Opus 

45 

Sonata,  piano 

and  cello 

in  F 

Opus 

5 

Number 

1 

Sonata,  piano 

and  cello 

in  A 

Opus 

69 

Trio,  piano 

and  strings 

in  C 

minor 

Opus 

1 

Number 

3 

Trio,  piano 

and  strings 

in  D 

Opus 

70 

Number 

1 

1 

Trio,  piano 

and  strings 

in  E 

flat 

Opus 

70 

Number 

2 

Serenade,  flute,  violin  and  viola 

Opus 

25 

Septet 

Opus 

20 

Brahms 

String  Quartet 

in  B flat 

Opus 

67 

String  Quartet 

in  C minor 

Opus 

51 

Number  1 

String  Quartet 

in  A minor 

Opus 

51 

Number  2 

String  Quintet 

in  F 

Opus 

85 

String  Quartet 

in  G 

Opus 

111 

String  Sextet 

in  B flat 

Opus 

18 

String  Sextet 

in  G 

Opus 

36 

Sonata,  piano 

and  violin  in  G 

Opus 

28 

Sonata,  piano 

and  violin  in  A 

Opus 

100 

1 

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Sonata,  piano  and 

violin 

in  D minor 

Opus 

1C8 

Sonata,  piano  and 

cello 

in  E minor 

Opus 

38 

Trio,  piano  and  strings 

in  C 

Opus 

87 

Trio,  piano  and  strings 

in  C minor 

Opus 

101 

Quartet ,piano  and 

strings 

in  G minor 

Opus 

25 

Quartet , piano  and 

strings 

in  A minor 

Opus 

26 

Quintet,  piano  and  strings 

Opus 

115 

Quintet,  piano  and  strings 

Opus 

115 

Sonata,  clarinet  and  piano  in  F minor 

Opus 

20  Number  1 

Trio,  piano,  violin  and  horn  in  E flat 

Opus 

40 

Haydn 

String  Quartet 

in  G 

Opus 

54  Number 

1 

String  Quartet 

in  D minor 

Opus 

76  Number 

3 

String  Quartet 

in  G 

Opus 

20  Number 

2 

String  Quartet 

in  B 

Opus 

64  Number 

2 

String  Quartet 

in  B flat 

Opus 

71  Number 

1 

Mendelssohn 

String  Quartet 

in  F minor 

Opus 

80 

String  Quartet 

in  D 

Opus 

44  Number 

1 

String  Quartet 

in  E flat 

Opus 

44  Number 

3 

String  Quintet 

in  A 

Opus 

18 

Sonata,  piano  and 

cello 

in  B flat 

Opus 

45 

Sonata,  piano  and 

cello 

in  D 

Opus 

58 

Var iat ions 

Opus 

17 

Trio,  piano  and  strings 

in  C minor 

Opus 

66 

A O'!  f." 

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Mozart 

String  Quartet 

in  G 

Number 

1 

String  Trio 

in  E flat 

String  Q,uintet 

in  G minor 

Sonata,  piano  and  violin 

in  A 

Number 

1 

Sonata,  piano  and  violin 

in  C 

Number 

2 

Sonata,  piano  and  violin 

in  F 

Number 

9 

Sonata,  piano  and  violin 

in  E flat 

NiMber  16 

Sonata,  piano  and  violin 

in  E flat 

Number  12 

Trio,  piano  and  strings 

in  G 

Quartet,  oboe  and  strings 

Quartet,  clarinet  and  strings 

in  A 

Quintet,  piano  and  wind 

in  E flat 

Schubert 

String  Quartet 

in  D minor 

Opus 

Posth 

String  Quartet 

in  A minor 

Opus 

29 

String  Quintet 

in  C 

Opus 

163 

Trio,  piano  and  strings 

in  B flat 

Opus 

99 

Trio,  piano  and  strings 

in  E flat 

Opus 

100 

Octet 

Opus 

166 

Schumann 

j String  Quartet 

in  A minor 

Opus 

41 

Number 

1 

String  Quartet 

in  F 

Opus 

41 

Number 

2 

Sonata,  piano  and  violin 

in  A minor 

Opus 

105 

Sonata,  piano  and  violin 

in  D minor 

Opus 

121 

Trio,  piano  and  strings 



in  D minor 

Opus 

63 

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Fantasestucke  piano  and  strings  Opus  88 

Quintet,  piano  and  strings  in  E flat  Opus  44 

The  above  list  does  not  exhuast  the  number  of  combinations 
of  instruments  for  which  music  has  been  written.  Under  the 
head  of  Chamber  Music  we  find  duets,  trios,  quartets,  quintets, 
sextets,  septets,  and  octets.  The  quartet  usually  signifies 
four  string  instruments;  first  and  second  violins,  viola  and 
cello.  The  piano  sometimes  takes  the  place  of  the  second 
violin.  V/ood  and  brass  instruments  are  sometimes  introduced 
for  the  larger  groups,  and  in  fact,  no  definite  arrangement  of 
instruments  can  be  fixed  upon,  as  composers  have  written  music 
for  an  almost  endless  number  of  different  combinations. 

All  of  the  parts  of  the  combinations  must  be  equal  in 
being  interesting  and  in  having  important  passages  to  perform. 
That  is,  one  part  is  not  continuously  predominant  to  the  others. 
The  tones  of  combinations  of  instruments  must  blend  so  that 
the  melody  may  run  the  entire  gamut,  from  the  lowest  tone  of 
the  lowest  instrument  to  the  highest  tone  of  the  highest 
instrument.  To  be  strictly  Chamber  Music  each  player  has  his 
own,  individual  part  to  play  and  at  any  moment  may  have  the 
predominant  part.  Thus  in  Chamber  Music,  every  small  detail 
can  be  grasped  by  the  audience.  It  is  unusual  for  instruments 
to  double  parts,  even  if  there  were  more  than  the  usual, 
number  of  players.  Although  there  is  a great  amount  of 
technical  work  for  the  different  instruments,  each  one  must 
work  as  a part  of  a unit. 

The  treasures  of  Chamber  Music  are  hidden  to  moat  people 


■ 4,.., 

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but  are  prized  by  few.  Dunhill  in  hia  ”A  Treatise  for 
Students”  says  "Chamber  Music  is  not  for  the  crowd,  and  one 
cannot  readily  attune  oneself  to  receive  it  if  the  crowd  is 
present.  It  has  no  glaiiiour  of  vivid  coloring — >it  is  in  music 
very  much  what  a water-color  drawing  is  in  the  art  of  painting. 
The  scheme  as  a whole  is  more  subdued,  and  instead  of  the 
heavy,  rich  layers  of  pigment,  completely  hiding  the  rough 
canvass  upon  which  they  are  imposed,  we  find  a soft,  quiet 
toning,  every  shade  of  which  is  important  and  telling,  laid 
with  an  unerring  hand,  upon  a surface,  the  delicate  texture  of 
which  is  still  visible,  contributing  its  07m  value  to  the 
charm  and  reality  of  the  whole  picture,  as  well  as  receiving 
and  absorbing  the  impressions,  which  the  well-guided  brushes 
have  laid  upon  it." 

For  a long  time,  musicians  considered  the  string 
quartet  too  light  a group  of  instruments  to  portray  or  to 
give  them  a chance  to  display  their  musical  ideas,  but  this 
was  because  they  failed  to  understand  the  wonderful  power  and 
scope  of  the  instruments,  expecially  of  the  violin.  With  a 
greater  mastery  of  this  wonderful  instrument,  the  sonata 
form  was  perfected,  and  such  masters  as  Haydn,  Mozart  and 
Beethoven  created  qualities  with  such  fluent  and  simple 
melodies,  so  well  balanced  and  symmetrical  in  form,  that  they 
still  hold  their  places  in  the  concert  rooms  to-day. 

They  found  by  experiment  that  the  string  quartet  offers 
every  opportunity  for  the  development,  both  as  to  expression 
and  technic . 

Thus  far  I have  discussed  Chamber  Music  in  a general 


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v/ay . Now  I shall  discuss  it  more  specifically.  It  is 
possible  for  one  to  hear  if  not  to  perform  more  Chamber  Music 
than  has  been  bis  custom.  In  every  community  groups  of 
persons  possessing  the  different  instruments  may  be  found. 

They  can  be  taught  to  play  together.  In  that  way  the 
individuals  as  well  as  the  community  will  be  benefited.  Of 
course  great  accomplishments  have  had  little  beginnings. 

Little  beginnings  have  their  influence.  In  this  manner  Chamber 
Music  could  have  a beginning. 

Chamber  Music  may  be  made  an  incentive  in  the  high 
school  just  as  being  a member  of  a team  in  athletics  is.  In 
athletics  the  aim  is  to  develop  physically  all  of  the  students 
of  the  school,  then  to  select  the  few  to  represent  it  in 
contests.  So  in  music  the  aim  should  be  to  develop  the 
appreciation  of  the  entire  group,  then  to  select  the  best 
material  available  for  ensemble  work.  Let  the  orchestra  be  a 
training  in  preparation  for  the  ensemble  class.  Promotions 
can  be  made  to  the  Chamber  Music  group  at  regular  appointed 
times,  upon  successfully  passing  the  required  examinations 
and  meeting  the  requirements.  Credit  for  work  in  ensemble 
music  could  be  granted  just  as  often  done  for  orchestra  or 
other  music  work.  \^en  Chamber  Music  is  made  a high  school 
subject,  the  standard  of  music  will  be  raised  and  an  incentive 
for  serious  musical  work  will  be  created. 

In  ensemble  work  where  there  are  only  a few  players, 
any  of  the  combinations  of  instruments  could  be  used. 

Practical  experience  teaches  us  that  in  the  average  high  school 
orchestra  we  meet  a majority  of  piano,  violin,  cello,  flute. 


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cornet,  clarinet,  trombone,  saxophone  and  drum  players  while 
the  important  and  indispens ible  instruments  for  imparting 
color  and  volume,  such  as  the  viola,  bass,  oboe,  bassoon  and 
French  horns  are  practically  beyond  reach.  This  condition  has 
to  be  met  and  solved  and  the  only  solution  is  to  make  the  best 
of  the  material  at  hand. 

Dr.  G.  Stanley  Hall  says,  ”Music  is  a human  necessity 
in  modern  life.  The  fundamental  view,  on  which  my  own  theory 
of  music  and  musical  education  is  based  is  that  music  is  the 
language  of  the  heart,  very  much  as  speech  is  that  of  the 
intellect.  It  is  older  and  more  all-conditioning  for  the  life 
of  the  individual.  The  new  psychology  is  stressing  this  point 
of  view  in  every  way.  Therefore  education  in  music  is  coming 
to  occupy  a higher  and  even  higher  place." 

When  Chamber  Music  becomes  a part  of  the  school  life,  it  will 
find  its  way  into  the  home  and  then  into  the  community. 

Many  of  the  cities  of  our  country  have  their  organizations 
of  Chamber  Music  societies,  others  have  concerts  with 
travelling  musicians.  The  New  York  Chamber  Music  Society, 
Carolyn  Beebe,  pianist  and  founder,  gave  three  recitals  in 
Aeolian  Hall,  New  York  City,  within  the  last  year.  One  of 
the  selections  played  was  Percy  Granger's  new  work,  "Green 
Bushes."  On  the  second  concert,  a new  Chamber  Music 
composition  by  Ethel  Leginska,  called  "From  a Life".  This 
composition  is  still  in  manuscript.  This  organization  also 
played  among  its  nximbers  Caplets  Quintet  for  piano  and  strings. 

The  Barrere  Ensemble  gave  a series  of  Sunday  evening 
concerts  in  New  York  City  at  which  his  Little  Symphony,  the 


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miniature  orchestra,  organized  by  George  Barrere,  played 
among  a varied  program  two  new  numbers;  Suite  Ditirambio  by 
Domenica  Brescia  and  Vincent  d* Indy's  Sarabande  and  Minuet. 
This  organization  is  composed  of  the  following  instruments: 
flute,  oboe,  clarinet,  horn  and  bassoon. 

Adolf  Weidig  and  class  of  the  American  Conservatory  in 
Chicago  gave  the  following  program  in  Kimball  Hall,  Saturday, 
November  fifth,  last: 

Schumann  Quintet 

Brahms  F minor  Quintet 

Dvorak  A major  Quintet 

Dohanyi  C minor  Qunitet 

The  Beethoven  Trio  of  Chicago  in  a recent  concert  in 
Academy  Hall  of  that  city  played  the  following  numbers: 

Leken  Trio  in  C minor 

Schubert  Andante,  Opus  99 

Arensky  D minor  Trio 

The  Chicago  String  Quartet,  a new  organization,  gave  a 
concert  in  Kimball  Hall  in  March,  1922,  in  which  they  played 
the 


Mozart  Q,uartet  in  B flat  major 

Rimsky-Korsakof f Allegro  Russe 

Quartet  in  F major 

In  Urbana,  Illinois,  at  the  University  of  Illinois, 
three  Chamber  Music  organizations  have  been  heard  in  concerts 
within  the  last  year,  namely:  Flonzaley  String  Quartet, 
Barrere  Wood  Wind  String  Quartet,  and  the  University  of 
Illinois  String  Quartet. 


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-15- 

The  University  of  Illinois  String  Quartet  composed  of 
the  folloT/ing  persons,  Manoah  Leide,  Andrus  0.  Griffith,  George 
Foss  Schwartz,  and  Leveret t A.  Adams,  played 

Quartet  No.  47  in  F minor  Haydn 

Quartet  in  D major  Op.  18,  No.  3 Beethoven 

Only  a few  of  the  many  organizations  of  Chamber  Music 
of  the  United  States  have  received  mention  in  this  treatise,  but 
these  few  are  typical  of  the  great  work  that  has  been  and  is 
being  done  to  further  the  cause  of  music  in  our  vast  and  powerful 
nat ion. 

Why  should  not  the  United  States  produce  and  foster  art 
of  an  exceptional  order?  We  are  a sympathetic  people  with  varied 
national  arts.  We  have  been  quick  to  respond  to  the  originality, 
characteristic  of  the  freedom  of  life  in  a democratic  country. 

Our  hopes  and  aspirations  are  ever  for  the  betterment  of  mankind, 
therefore,  our  faith  points  to  the  possibilities  for  the 
development  of  Amateur  Chamber  Music  in  the  United  States. 


